Passion Chorale
The famous Passion Chorale, which we've looked at in our chorale series and also elsewhere during the pandemic, goes by a number of names: 'O Haupt voll Blut und Wunden; 'Wie soll ich dich empfangen'; 'Because all men are brothers' (Peter, Paul and Mary); and 'American Tune' (Paul Simon, among others). This is possible because of something called a contrafactum: A re-texting of an existing tune. In the case of German chorales, this process is facilitated by the fact that there are common metrical forms sharing number of lines, number of syllable per line, accent patterns and rhyme schemes. A single tune can thus carry many texts.
But it's possible also to write a new tune to an existing text, even if the text is associated with a venerable and beloved tune. Johann Crüger, a master of chorale arrangements and also a wonderful composer of chorale tunes, did this with 'Wie soll ich dich empfangen' in his 1657 publication 'Geistliche Lieder und Psalmen'. I stumbled upon a performance of this piece on YouTube while following breadcrumbs on what I thought would be today's chorale project; but this piece and this performance are too wonderful to delay!
As with many of Crüger's chorale settings, he provides not only a four-part harmonization with basso continuo, but also provides two treble instrumental lines--generally indicated as being for violin, but very effective on cornetto as well. These instrumental parts are 'a piacere', that is to say, optional at the will of the musicians performing the piece. This allows for several options, some of which are taken up by the performers on today's recording:
1. The tune can be sung a cappella;
2. The tune can be done with the harmonizing lines, like a Bach chorale, either with or without instrumental accompaniment;
3. The tune can be done with the decorative instrumental lines, as a solo or with all four vocal parts;
4. And here's an interesting one which is very effective on today's recording: The tune can be done with just the instrumental parts and basso continuo.
All this has me thinking about possible arrangements of a Crüger chorale which Circa 1600 is already rehearsing, a setting of 'Wie schön leuchtet der Morgenstern'. I'm now especially interested in trying a verse with just our cornetti and continuo, something I had not thought of.
In any case, the proof is in the pudding, so you must listen to this beautiful and very moving recording. As you'll hear and see, the performers not only perform flawlessly from a technical standpoint; they also manage to convey a palpable sense of what I can only describe as love and caring, not only for the music itself but for what it can do for us in our lives. I always find this sort of devotion so moving.
Attached is a score I made from some sources available online; it includes a literal translation of the first verse of the chorale. Poetic translations of the other verses are included at this link.
Happy listening--
The famous Passion Chorale, which we've looked at in our chorale series and also elsewhere during the pandemic, goes by a number of names: 'O Haupt voll Blut und Wunden; 'Wie soll ich dich empfangen'; 'Because all men are brothers' (Peter, Paul and Mary); and 'American Tune' (Paul Simon, among others). This is possible because of something called a contrafactum: A re-texting of an existing tune. In the case of German chorales, this process is facilitated by the fact that there are common metrical forms sharing number of lines, number of syllable per line, accent patterns and rhyme schemes. A single tune can thus carry many texts.
But it's possible also to write a new tune to an existing text, even if the text is associated with a venerable and beloved tune. Johann Crüger, a master of chorale arrangements and also a wonderful composer of chorale tunes, did this with 'Wie soll ich dich empfangen' in his 1657 publication 'Geistliche Lieder und Psalmen'. I stumbled upon a performance of this piece on YouTube while following breadcrumbs on what I thought would be today's chorale project; but this piece and this performance are too wonderful to delay!
As with many of Crüger's chorale settings, he provides not only a four-part harmonization with basso continuo, but also provides two treble instrumental lines--generally indicated as being for violin, but very effective on cornetto as well. These instrumental parts are 'a piacere', that is to say, optional at the will of the musicians performing the piece. This allows for several options, some of which are taken up by the performers on today's recording:
1. The tune can be sung a cappella;
2. The tune can be done with the harmonizing lines, like a Bach chorale, either with or without instrumental accompaniment;
3. The tune can be done with the decorative instrumental lines, as a solo or with all four vocal parts;
4. And here's an interesting one which is very effective on today's recording: The tune can be done with just the instrumental parts and basso continuo.
All this has me thinking about possible arrangements of a Crüger chorale which Circa 1600 is already rehearsing, a setting of 'Wie schön leuchtet der Morgenstern'. I'm now especially interested in trying a verse with just our cornetti and continuo, something I had not thought of.
In any case, the proof is in the pudding, so you must listen to this beautiful and very moving recording. As you'll hear and see, the performers not only perform flawlessly from a technical standpoint; they also manage to convey a palpable sense of what I can only describe as love and caring, not only for the music itself but for what it can do for us in our lives. I always find this sort of devotion so moving.
Attached is a score I made from some sources available online; it includes a literal translation of the first verse of the chorale. Poetic translations of the other verses are included at this link.
Happy listening--